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CNMAT Notes.Indd
CAL PERFORMANCES PRESENTS Saturday, February 11, 2006, 8 pm Hertz Hall CNMAT Presents: Mark Dresser, Myra Melford, Bob Ostertag, David Wessel Th is presentation is made possible, in part, by the generous support of Liz and Greg Lutz. Cal Performances thanks our Centennial Season Sponsor, Wells Fargo. CAL PERFORMANCES 29 ABOUT THE ARTISTS ABOUT THE ARTISTS Jazziz magazine noted, “Th e confi dence to go included the Kronos Quartet, avant-gardists so far into uncharted territory and the ability John Zorn and Fred Frith, heavy metal star to carry listeners along—then bring them Mike Patton, jazz great Anthony Braxton, back—attest to Melford’s vision.” dyke punk rocker Lynn Breedlove, drag diva Myra Melford is currently Assistant Justin Bond, fi lmmaker Pierre Hébert and Professor of Improvisation and Jazz in the others. He is rumored to have connections Department of Music at the University of to the shadowy media guerrilla group Th e California, Berkeley. Yes Men. Bob Ostertag recently joined the Department of Technocultural Studies at the University of California, Davis, where he is an Associate Professor. Myra Melford (piano and electronics) is “the genuine article, the most gifted pianist/ Mark Dresser has been composing and composer to emerge from jazz since Anthony performing solo contrabass and ensemble Davis,” according to critic Francis Davis. A music professionally throughout North composer and bandleader with a “commitment Composer, performer, instrument builder, America, Europe and the Far East since to refreshing, often surprising uses of melody, journalist, activist, historian, kayak instruc- 1972. He has recorded more than 100 CDs harmony and ensemble playing,” according to tor—Bob Ostertag’s work cannot easily be with some of the strongest personalities in NPR, Melford currently leads or co-leads four summarized or pigeon-holed. -
Music, Politics, People, and Machines
Critical Studies in Improvisation / Études critiques en improvisation, Vol 6, No 2 (2010) Book Review Creative Life: Music, Politics, People, and Machines Bob Ostertag Urbana: U of Illinois P, 2009 ISBN-10: 025207646X ISBN-13: 978-0252076466 194 pages Reviewed by Rob Wallace The title of Bob Ostertag’s third book is more accurately rendered as Creative Life Music Politics People and Machines—a continuous stream of concepts connected precariously only through Ostertag himself. The key term is “creative,” along with the equally important “people.” For while Ostertag’s book is on the one hand a collection of essays touching on various aspects of his own biography and artwork, it is also a series of engaging and at times very moving portraits of his contemporaries. Profiling such figures as Anthony Braxton, David Wojnarowicz, Jim Magee, “Maria,” Aleksandra Kostic, and Justin Bond, Creative Life is a story of many creative “lives” that in some way have intersected with the creative life of the protagonist, Ostertag. Some of these lives may be familiar to readers, some not so familiar, and that latter fact is one of the book’s greatest strengths: as an advocate of artists in particular and interesting people in general, Ostertag’s narrative makes the individuals he meets seem intriguing and potentially life-changing, regardless of their level of “fame” in their respective worlds. The information about Texas-based artist Jim Magee, for example, is reason enough to read the book (and if you are unfamiliar with Magee, as I was, take my word for it and read Ostertag’s profile). -
Variations #6
Curatorial > VARIATIONS VARIATIONS #6 With this section, RWM continues a line of programmes devoted to exploring the complex map of sound art from The Library different points of view organised in curatorial series. We encounter the establishment of sound libraries, collections explicitly curated 'Variation' is the formal term for a musical composition based for further use: sound objects presented as authorless, unfinished ingredients. on a previous musical work, and many of those traditional Though some libraries contain newly commissioned generic sounds, specifically methods (changing the key, meter, rhythm, harmonies or designed for maximum flexibility, the most widely used sounds are often sourced tempi of a piece) are used in much the same manner today from commercial recordings, freed from their original context to propagate across by sampling musicians. But the practice of sampling is more dozens to hundreds of songs. From presets for digital samplers to data CD-ROMs than a simple modernization or expansion of the number of to hip-hop battle records, sounds increasingly detach from their sources, used options available to those who seek their inspiration in the less as references to any original moment, and more as objects in a continuous refinement of previous composition. The history of this music public domain. traces nearly as far back as the advent of recording, and its As hip-hop undergoes a conservative retrenchment in the wake of the early emergence and development mirrors the increasingly self- nineties sampling lawsuits, a widening variety of composers and groups expand conscious relationship of society to its experience of music. the practice of appropriative audio collage as a formal discipline. -
Elementary Functions, Student's Text, Unit 21
DOCUMENT RESUME BD 135 629 SE 021 999 AUTHOR Allen, Frank B.; And Others TITLE Elementary Functions, Student's Text, Unit 21. INSTITUTION Stanford Univ., Calif. School Mathematics Study Group. SPONS AGENCY National Science Foundation, Washington, D.C. PUB DATE 61 NOTE 398p.; For related documents, see SE 021 987-022 002 and ED 130 870-877; Contains occasional light type EDRS PRICE MF-$0.83 HC-$20.75 Plus Postage. DESCRIPTO2S *Curriculum; Elementary Secondary Education; Instruction; *Instructional Materials; Mathematics Education; *Secondary School Mathematics; *Textbooks IDENTIFIERS *Functions (Mathematics); *School Mathematics Study Group ABSTRACT Unit 21 in the SMSG secondary school mathematics series is a student text covering the following topics in elementary functions: functions, polynomial functions, tangents to graphs of polynomial functions, exponential and logarithmic functions, and circular functions. Appendices discuss set notation, mathematical induction, significance of polynomials, area under a polynomial graph, slopes of area functions, the law of growth, approximation and computation of e raised to the x power, an approximation for ln x, measurement of triangles, trigonometric identities and equations, and calculation of sim x and cos x. (DT) *********************************************************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. Nevertheless, items of marginal * * reproducibility are often encountered and this affects the quality * * of the microfiche and hardcopy reproductions ERIC makes available * * via the ERIC Document Reproduction Service (EDRS). EDRS is not * responsible for the quality of the original document. Reproductions * * supplied by EDRS are the best that can be made from the original. -
A Zeitgeist Films Release Theatrical Booking Contact: Festival Booking and Publicity Contact
Theatrical Booking Festival Booking and Contact: Publicity Contact: Clemence Taillandier / Zeitgeist Films Nadja Tennstedt / Zeitgeist Films 212-274-1989 x18 212-274-1989 x15 [email protected] [email protected] a zeitgeist films release act of god a film by Jennifer Baichwal Is being hit by lightning a random natural occurrence or a predestined event? Accidents, chance, fate and the elusive quest to make sense out of tragedy underpin director Jennifer Baichwal’s (Manufactured Landscapes) captivating new work, an elegant cinematic meditation on the metaphysical effects of being struck by lightning. To explore these profound questions, Baichwal sought out riveting personal stories from around the world—from a former CIA assassin and a French storm chas- er, to writer Paul Auster and improvisational musician Fred Frith. The philosophical anchor of the film, Auster was caught in a terrifying and deadly storm as a teenager, and it has deeply affected both his life and art: “It opened up a whole realm of speculation that I’ve continued to live with ever since.” In his doctor brother’s laboratory, Frith experiments with his guitar to demonstrate the ubiquity of electricity in our bodies and the universe. Visually dazzling and aurally seductive, Act of God singularly captures the harsh beauty of the skies and the lives of those who have been forever touched by their fury. DIRECTOR’S NOTES I studied philosophy and theology before turning to documentary and, in some ways, the questions I was drawn to then are the ones I still grapple with now, although in a different context. Two of these, which specifically inform this film, are the relationship between meaning and randomness and the classical problem of evil. -
Ellis Cashmore
DICTIONARY OF RACE AND ETHNIC RELATIONS Fourth Edition ROUTLEDGE BOOKS BY ELLIS CASHMORE The Black Culture Industry …and there was television Making Sense of Sports Out of Order? Policing black people (with Eugene McLaughlin) Black Sportsmen HIS OTHER BOOKS The Logic of Racism United Kingdom? Class, race and gender since the war Having To—The world of oneparent families No Future: Youth and society Rastaman: The rastafarian movement in England Introduction to Race Relations (with Barry Troyna) Black Youth in Crisis (with Barry Troyna) Approaching Social Theory (with Bob Mullan) DICTIONARY OF RACE AND ETHNIC RELATIONS FOURTH EDITION ELLIS CASHMORE with MICHAEL BANTON • JAMES JENNINGS, BARRY TROYNA • PIERRE L.VAN DEN BERGHE and specialist contributions from Heribert Adam • Molefi Kete Asanti • Stephanie Athey Carl Bagley • Kingsley Bolton • Roy L.Brooks Richard Broome • Bonnie G.Campodonico Robin Cohen • James W.Covington • Guy Cumberbatch John A.Garcia • Ian Hancock • Michael Hechter Gita Jairaj • Robert Kerstein • Zeus Leonardo Timothy J.Lukes • Peter McLaren • Eugene McLaughlin Robert Miles • Kogila Moodley • Marshall Murphree George Paton • Jan Nederveen Pieterse • Peter Ratcliffe Amy I.Shepper • Betty Lee Sung • John Solomos Stuart D.Stein • Roy Todd • Robin Ward Steven Vertovec • Loretta Zimmerman London and New York First published 1984 This edition published in the Taylor & Francis e-Library, 2003. Second edition published in 1988 Third edition published in 1994; reprinted 1995 Fourth edition published in 1996 by Routledge 11 New Fetter Lane London EC4P 4EE 29 West 35th Street New York, NY 10001 © Routledge & Kegan Paul 1984, 1988 This edition © Routledge 1996 All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. -
Human Bodies, Computer Music Author(S): Bob Ostertag Source: Leonardo Music Journal, Vol. 12, Pleasure, (2002), Pp. 11-14 Publis
Human Bodies, Computer Music Author(s): Bob Ostertag Source: Leonardo Music Journal, Vol. 12, Pleasure, (2002), pp. 11-14 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1513343 Accessed: 23/07/2008 16:29 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=mitpress. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. http://www.jstor.org Human Bodies, Computer Music ABSTRACT The authorconsiders the absenceof theartist's body in electronicmusic, a missing BobOstertag elementthat he finds crucial to thesuccess of anywork of art. Inreviewing the historical developmentof electronic music frommusique concrete to analogand then digital synthe- sizers,the author finds that the attainmentof increased control iierre Hebert, a frequent collaborator of mine, use outside of research institutions. -
Interweavings.Towards a New View of The
1 INTERWEAVINGS Towards a new view of the relation between composition and improvisation by Nina Polaschegg Translated by Carl Bergstroem-Nielsen*) This article was first published as "Verflechtungen. Zur Neubestimmung des Verhältnisses von Komposition und Improvisation" in MusikTexte 114, August 2007. Our (German) official view of music history since 1945 is still centred on two paradigms which were developed within the Darmstadt Summer Courses. These are serialism on one hand including the reaction against it from the side of Cageians - and aleatorics and other strategies for opening up the musical work on the other. In composed music of today, aleatorics play only an insignificant role, just like strict serialism. Open structures in music works are exceptions within contemporary composition. Thus, the quasi official view of music concerns itself with positions stemming from the origin of New Music after 1950. They admittedly implied a radical thinking through of principal possibilities for employing a new view of the musical work. Consequently they also appeared necessary and revolutionary, but they have remained without a real succession. When employing this view, the dominant view of the developing new contemporary music represses or marginalises the fact that aleatorics and open work structures were only a small part of a diverse movement against the traditional notion of music, musician and musical work. And, remarkably, exactly these repressed dimensions of this reaction have lived on and unfolded a strong influence precisely in recent years. Improvisation plays a central role in these new views – and this is the case inside as well as outside the traditional context of New Music. -
2Bbb2c8a13987b0491d70b96f7
An Atlas of Rare & Familiar Colour THE HARVARD ART MUSEUMS’ FORBES PIGMENT COLLECTION Yoko Ono “If people want to make war they should make a colour war, and paint each others’ cities up in the night in pinks and greens.” Foreword p.6 Introduction p.12 Red p.28 Orange p.54 Yellow p.70 Green p.86 Blue p.108 Purple p.132 Brown p.150 Black p.162 White p.178 Metallic p.190 Appendix p.204 8 AN ATLAS OF RARE & FAMILIAR COLOUR FOREWORD 9 You can see Harvard University’s Forbes Pigment Collection from far below. It shimmers like an art display in its own right, facing in towards Foreword the glass central courtyard in Renzo Piano’s wonderful 2014 extension to the Harvard Art Museums. The collection seems, somehow, suspended within the sky. From the public galleries it is tantalising, almost intoxicating, to see the glass-fronted cases full of their bright bottles up there in the administra- tive area of the museum. The shelves are arranged mostly by hue; the blues are graded in ombre effect from deepest midnight to the fading in- digo of favourite jeans, with startling, pleasing juxtapositions of turquoise (flasks of lightest green malachite; summer sky-coloured copper carbon- ate and swimming pool verdigris) next to navy, next to something that was once blue and is now simply, chalk. A few feet along, the bright alizarin crimsons slake to brownish brazil wood upon one side, and blush to madder pink the other. This curious chromatic ordering makes the whole collection look like an installation exploring the very nature of painting. -
Mmmbop Download
Mmmbop download click here to download Watch the video for Mmmbop from Hanson's Middle Of Nowhere for free, and see the artwork, lyrics and similar artists. Download the song of Hanson — Mmmbop, listen to the track, watch clip and find lyrics. MmmBop: The Collection | Hanson to stream in hi-fi, or to download in True CD Quality on www.doorway.ru If Only (Hanson) - download. Please install flash Mmmbop (Hanson) - download. Please install flash This Time Around (Hanson) - download. Please install. Download Hanson Mmmbop free midi and other Hanson free midi. MMMBop MP3 Song by Hanson from the album MmmBop: The Collection. Download MMMBop song on www.doorway.ru and listen offline. MMMBop MP3 Song by Hanson from the album Middle Of Nowhere. Download MMMBop song on www.doorway.ru and listen offline. Print and download MMMBop sheet music by Hanson. Sheet music arranged for Piano/Vocal/Chords in C Major. SKU: MN Official Hanson Mmmbop lyrics at CD Universe. Oh oh oh oh CD Universe is your source for Hanson's song Mmmbop MP3 download lyrics and much more. Download MmmBop: The Collection by Hanson at Juno Download. Listen to this and millions more tracks online. MmmBop: The Collection. Preview, buy, and download songs from the album MMMBop (From "Greatest Hits") - Single, including "MMMBop (From "Greatest Hits")". Buy the album for $ Hanson - MMMBop - www.doorway.ru Music. MMMBop by Hanson (). Hanson · out of 5 stars 1. Audio CD .. Download Audiobooks · Book. Check out Mmmbop (Single Version) by Hanson on Amazon Music. Stream I downloaded this because it is used in the "Puppy" Minion short film. -
Table of Contents
Table of Contents Ch. 1. Linear Equations P. 2 Rational coefficients Absolute value Word translations Problem solving Ch. 2. Equations of Lines P. 24 Writing equations Graphing equations and inequalities Ch. 3 Relations and Functions P. 35 Evaluating functions Combining functions Composition of functions Ch. 4 Systems of Equations P. 43 Graphing Solving – linear combination Solving – substitution Problem solving Ch. 5 Polynomials P. 56 Add, subtract, multiply, divide Factor Ch. 6 Solving Quadratic Equations P. 72 Simplify radials Rational Root Theorem Equations containing radicals Ch. 7 Rational Expressions P. 91 Add, subtract, multiply, divide Fractional Equations Ch. 8. Exponentials P. 98 Logarithms Ch. 9 Trigonometry P. 103 Right triangle trig Problem solving 1 CHAPTER 1 LINEAR EQUATIONS Sec 1. Solving Linear Equations Kids began solving simple equations when they worked missing addends problems in first and second grades. They were given problems such as 4 + n = 6 and had to find the value of n by guessing and substituting numbers to find one that worked. As students learned to evaluate arithmetic expressions in mathematics, they were taught the Order of Operations. The Order of Operations, an agreement that allows us to evaluate arithmetic expressions, also serves as the foundation for solving linear equations. An agreement such as the Order of Operations is common place in our daily lives. For instance, we typically agree that married folks wear their wedding rings on their left hand. When you watch sports, the home team is always listed last. My guess another agreement we find useful is most people will drive on the right side of the road – unless of course they want to meet new fiends. -
“The Fountain Pen and the Typewriter”: the Rise of the Homophile Press in the 1950S and 1960S
“The Fountain Pen and the Typewriter”: The Rise of the Homophile Press in the 1950s and 1960s Elizabeth Coretto Candidate for Senior Honors in History Oberlin College Thesis Advisor: Renee Romano Submitted Spring 2017 ii Table of Contents Acknowledgments iii Introduction 1 Chapter 1: Pioneer Queer Press in the United States 9 Chapter 2: The Beginning of the Homophile Era 20 Chapter 3: ONE and the Rise of the Queer Press 31 Chapter 4: Diversifying the Queer Press in the Homophile Era 49 Conclusion 70 Bibliography 76 iii Acknowledgements This thesis could not have been written without Professors Renee Romano and Ari Sammartino. Neither were interested in any sort of hand-holding, and their expectations and matter-of-fact attitudes worked wonders in forcing me to take full responsibility for my work. Their criticisms—at times difficult even to look at, with entire paragraphs crossed out or sentences rewritten in red—have helped forge this thesis into the best possible work I could have accomplished in the seven-odd months I’ve worked on it. Thank you for holding me accountable and pushing me to do better. Thanks also for the moments of therapeutic support which brought me back from cycles of self-pity and self-criticism and kept me going. Much thanks also to the other honors thesis writers: Maurice Cohn, Kaia Diringer, Ian Gilchrist, Lily Posner, and Nate Sher. Our suffering in solidarity reassured me I was not alone in this process, and all your excellent work inspired me to do better. We’ve bonded over confusion regarding footnotes, frustration over sources, and surprisingly difficult grapes.